JTUK

The Portaflex over the AV210's easily IMO...and this from someone who is very pro 10"'s.generally. The Portaflex is decent for tone but I doubt it will match two loud gtrs... but then again, educating them might be the best plan anyway.

[quote name='GUI101' timestamp='1364157318' post='2022707'] Why does this always happen to me..... Have been trying to decide between barefaced s12t and the hd212, the s12t had it on weight..... And now this!!! Well that's just great now ain't it! [/quote] In a good way, tho

[quote name='KevB' timestamp='1367310050' post='2063885'] Last time I depped I was sent a set of over 40 songs and slogged through as many as I could in the time available and at least it was with someone I'd jammed with before. On the night we played about 5 of them, rest were just thrown at me out of the blue (2x1hr sets). Most of the time I had a spotlight in my face so difficult to look over at the guitarist to actually see what he was playing. [/quote] That sounds a joke to me.... For the homework that may be involved.... the set should be pre-determined to the number..as much as possible. There is NO point going through 40 numbers if the set is 2x45mins and 22 numbers. That is just a waste of time. I recall backing a guy called Wild Willy Barrett on one of my first decent jobs of that kind.... and after going through the set list in the dressing room, I recall the Keyboard MD on stage throwing the music up in the air in digust 3 numbers in..as the main act went to winging it mode. He was a real character, and pulled it off...but the MD drank a lot that night onstage..and I got a real roasting/education. If you have put the work in, if should be worthwhile. We have booked deps and then cancelled...we have still paid them a 'booking' fee so as keep the good faith. Depping is a two way street tho and you need to square one level of attitudes and professionalism against the other. Where it falls down is when these are way apart. That is why deps will come in at £150 plus... so as to gauge how serious the booking is...

[quote name='Truckstop' timestamp='1349134720' post='1822378'] Well. 4x10's are awesome value for money right now because they're so unfashionable. [b]You can get just as much volume and bass with a well designed 2x10, 1x15 or 2x12 cab ..........[/b] [/quote] I'd put this done to urban myth or perpetuated by people who would want you to believe it for their own ends, but there you go.. and it just hasn't been my experience. I'd agree that 410's being replaced by those types of cabs but the PRIME reason is tha 410's are heavy. IMV. Downgrading, as it were, is all about where you accept your compromise... and weight and carry is valid, of course. All that aside.... SWR Goliaths are great cabs for the money...TE410's and PV less so but should all come in for under £250. I would look for an old amp for the same sort of price... rather than the likes of Hartke, myself. Not a fan of GK myself..but they would come up decent value for money, At this price point it is old tried and tested...and maybe past their best depending on how hard a life they have had, against cheap new pacific rim product. For me, I'd be looking at old U.S Eden and SWR for quality...but that assumes you like the sound. Not sure of the price, but I recently liked a PF500 (PF 350) and Portaflex set-up. Not sure if you can source them SH but I thought it a nice rock set-up for the type of gigs you are targetting..?? The semantics of this argumement isn't likely to affect your budget

[quote name='ubassman' timestamp='1366996658' post='2060150'] Have a look at this [url="https://www.cglloyds.co.uk/instant-quote/plel?trade=241&gclid=CIv30tni6LYCFSXLtAoduksAcA"]web site[/url] Quote of around £55 per annum for £1M PLI ( plenty of other on line quotes though !). The organisers of any venue / event should have PLI and should indemnify you with employers liability insurance - its your place of work and they are the employer paying your wages , providing you ( in theory) with a safe working environment . They also have a duty of care to the public coming into their building to make sure it safe and all preventable risks have been mitigated . The chances are you would be covered in any event under their Public Liability insurance policy for most things that occur in a venue . I[u]t would be pretty worrying for a venue to have no insurance in place a[/u]nd to try to pass on their responsibility down the line to a band. If however the band did something that caused a problem, for example a bin toppled offstage and hit someone then it may well be down to the band ...so for £55 quid its probably best to be covered by your own policy. ............ [/quote] So, think about this when you play that struggling pub....

[quote name='PaulWarning' timestamp='1367242035' post='2063007'] has anybody been asked for this before they play a gig? we never have, in fact nobody's even bothered looking at the labels on the equipment [/quote] Yes... a few times. Depending how many plugs you have, it is cheap enough per year Money for old rope for sparkies..... who will admit that very thing,..

[quote name='SteveK' timestamp='1367188236' post='2062457'] This is another of those questions that is impossible to answer definitively without actually hearing the piece. Everyone is suggesting a pedal, or having a bit of volume in reserve - these are fine suggestions and may well work, but let's not overlook the 'old fashioned way'... have a word with the rest of your band and see if they can't back it off a bit while you're playing your 'lead part'. 'Dynamics' could be your friend here. [/quote] This..... is all that is required...

But gtrs will always have the real thing if they can..........

2 mins of my life I wont get back

What would be the point...?? A Les PAul is a million miles from being a strat ...always will be...or should be.

I can see this as normal... The band may have costs that need to come from a kitty and it is these gigs that fill the kitty. If they are treating you like the hired help...then do exactly what that is, which is to turn up and play. There are advantages and disadvantages to being in a band and we have had deps tell us what their min fee is... and if we had paid that min fee to all, the gig wouldn't have covered it. That is unfair to the regular guys, so I could understand putting deps on less money on bigger payers to pay for that. Roundabouts and swings...rob Peter to pay Paul.

Depends how you define bands. People you play with or a band band.

Markbass 102 combo... not the smallest but very light for its size. Put another MB 210 under it and it would cover most gigs. The combo alone does well. I prefer the 210 over the 12"..by a long way.

A decent sub..??

[quote name='chris_b' timestamp='1366928181' post='2059252'] I think you are right. Sell them to me....... [/quote] or me... !!

Not sure I would go this route with a punt, tbh... as as helpful as people may be, you don't know what you will get until you fire it up. If it were me..I'd sell the HB cab.. put the money for the upgrade into the pot and check out the GS210 in the classifieds. Old SWR jnrs are good for the money..as are Eden XL spec. If you get over £200 in the pot, you might be nearly in range of older TE410 cabs...and SWR maybe. They are heavy and have had their day..altho the Goliath is still pretty decent,.. but they will still do a job...and be a REAL leap in class from the HB ..IMV.

[quote name='iconic' timestamp='1366963612' post='2059433'] One of the biggest draws at our local are the 'plastic paddies' as I call them, I won't name them, but they have a really large following up 'ere in Norfolk, always sell outs. I love their music (although it seems there are only a few irish licks) but hate the visuals as do my kids. ....one guys bangs on a tea chest, another tamely strums a guitar and the singer is the star of the show, playing a mean fiddle and sings too, blindingly well indeed to be fair....but [i]every[/i] song has a backing track driven by a laptop. It was bit strange when I 1st saw them, such a big sound for a 3 piece....I'd had a few cyders too! I thought "tight bass player" but couldn't see a bass player but "where is he hiding?"... then thought where is the drummer and where are the keyboards etc. I looked round and honestly I think if the band removed their strings and sat on their tea chest the crowd wouldn't notice after 20 mins! As I said they are THE biggest draw with the punters, everyones up and dancing, and bums on seats for those who don't, pricey tickets, got to hand it them it seems to work very well for them & pays, but I can put 50p in the jukebox if I want to hear recorded music...seems a bit moody to me? [/quote] Yes, I'd feel a bit cheated on a local level, for sure. I understand bands like Muse flying in sequences altho now they have a 4th member mostly on stage these days but live is LIVE, IMO. If the music is the key focus of the show, then play it for real.

A good bass will sustain well and the harmonics will ring on virtually every fret. That is the sort of thing you will expect for your money A decent set-up will help, but the ability of a bass to sustain comes down to how it all fits together. This will mostly be down to how much the basses cost...or should be, I am not saying cheaper basses will not do it, but the expensive basses certainly should...IMO.

First, you have to be able to play to click...and most drummers who think they can, can't. It isn't the hardest thing to do but it is a discipline you need to practice. So, if you have a guy who struggles in regular situations, this will be beyond him, I expect. Secondly.... I'd laugh at bands who flew in 'help'...tbh. be that BV's or a sequence It isn't really a big thing, but bands tend to get the help as they CAN'T do it, rather than can't afford it. I think bands should be able to come up wioth a solution better than this... ie, play the track that works in context. As I say, no big thing but I don't like these 'cheats' usually..

[size=5][sub]I've heard these are quite uncolured, which is a bit confusing as I have the TH pedal, and I wouldn't have said that myself..[/sub][/size] [size=5][sub]but I think Aguilar are making good gear atm.[/sub][/size] [size=5][sub]I can see that being a good match with the Berg.[/sub][/size]

[quote name='chris_b' timestamp='1358521603' post='1940768'] I did more gigs than that in the first 3 months of 2012, but then I wasn't headlining, they weren't major concerts and I wouldn't expect that many thought to call us artists, either. I don’t know JLS but good luck to them. This is only sales hype. It’s not important. [/quote] The right perspective.... 34 MAJOR dates might seem like a dream but there is a lot of pressure in that. They can't get sick or injured as people's livelihoods are dependant on the run of shows.. They may well spend all day getting to the gig and even with luxury transport links, it will get very tiring. For sure, there are bands working way harder... and without the support they have, but they seem to have done well with their day in the sun. Good luck to them.. I am not sure a metal/doom band would get this sniping/ridicule or whatever is your thing....???? Having said that.............. The worse thing is that you will get JLS musak x 4 now..when they all roll out their solo product. Their fan base will be in tears but they will soon move onto the next big thing.

Where is that 'like' button

[quote name='brensabre79' timestamp='1366035716' post='2047513'] ..... I suspect what I'm looking for comes from the huge Iron transformers in all-valve amps, I could be wrong. ........ [/quote] I am quite convinced that the power stage is crucial The DB amps sound like valve amps..IMO..and have that thump.. and they have a transformer stage that is HEAVY. The amps must be 60lbs... and the sound is just THERE..

It is good that the site is willing to put up a thread asking for feedback and even endorsing a few suggestions. As for OT...I don't see what the problem is, tbh... you engage in a thread on which you have an opinion. Unless you are looking for slavish acceptance ( and it is possible some posters are ) of whatever you post about, why wouldn't you consider and engage in a contrary opinions...? We aren't sheep.... Oh, I get it... ;lol:

Our two main rehearsal studios are well run and clean. They double as either teaching schools or recording studios. But there is no legislation for what people do behind closed doors to amps etc etc. The amps aren't that great anyway and the prime concern is that they take abuse..because that is what they will get over the course of a months bookings, IME. In the last few months, both amps have been under repair and unless anyone reports the amps as out of action or this or that problem, who knows what you will find. I just that type of chance out of the equation. And for auditioning or introducing guests or just making a good first impression ( new faces around and they have a very good CV, etc etc ) sound is the most important thing. If you blow that, it is VERY hard to recover from.